In today's CMU Daily: The major political parties in the UK have now all published their manifestos, ahead of the General Election next month. The one big question everyone is asking is, what do they say about music? Well, some more than others. Labour - the most likely to actually form a government - makes various commitments, while the Lib Dems and Green Party are supportive of the industry. Reform is more interested in putting children to work on farms

One Liners: John Butler, FUGA deals; A2IM CEO to step down; Circuit hires; Production Music Awards; Taylor Swift end of an Eras; new releases from LL Cool J, Alison Moyet, Rag N Bone Man, Bree Runway, Tokimonsta, Avey Tare, Pale Waves, Mike Lindsay, Logic10000, Hakushi Hasegawa, Jesus Piece, Jahnah Camille

Also today: Artists need to be made more aware of new EU rights; Lil Uzi Vert sued over unpaid fees

Plus: BTS member Jin is back from military service and has been thrown straight into a far more gruelling situation

Touting, touring and AI in the spotlight in election manifestos

As the UK General Election looms, most political parties have now published manifestos setting out their respective priorities and agendas, and what they'd like to get done should they form the next UK government. Most make some big but pretty vague statements about how important culture and music is, socially and economically, before offering a small number of more specific commitments around things like ticket touting, post-Brexit touring and AI. 

Given that everyone assumes it is the Labour Party that will form the next government, perhaps most important is its pledge that, once in power, “arts and music will no longer be the preserve of a privileged few”. Culture, it adds, “is an essential part of supporting children and young people to develop creativity and find their voice”. And not only that, “there is huge potential for growth in the creative industries that benefit every corner of the UK”. 

Very few voters actually read the manifestos political parties publish during elections, so it is debatable what impact they have on how people vote. 

However, the manifesto of whichever party wins the election has some importance once that party starts implementing its policies. It is generally harder for MPs and members of the House Of Lords in Parliament - and lobbying groups outside of Parliament - to campaign against changes to the law that are required to meet a manifesto commitment. 

In terms of trying to use the manifesto to predict what changes a future government will actually make, that depends on how specific the commitments are. Promising that “arts and music will no longer be the preserve of a privileged few” is a bold statement that will appeal to the cultural community, although it doesn't really say much. 

When it comes to the specifics, the manifesto mainly points to the Labour Party’s previously published ‘creative industries sector plan’, which, it says, is about “creating good jobs and accelerating growth in film, music, gaming and other creative sectors”. 

There are some more distinct commitments in the actual manifesto though. In particular, the party’s commitment to more tightly regulate ticket resale gets a specific mention. 

“Access to music, drama and sport has become difficult and expensive because of ticket touting”, it declares. “Labour will put fans back at the heart of events by introducing new consumer protections on ticket resales”. Although it doesn’t say so in the manifesto, Labour previously said that would include a 10% price cap on touted tickets. 

Suggesting that music education will get more support too, it states, “we will also launch a new National Music Education Network – a one-stop shop with information on courses and classes for parents, teachers and children”. 

What about everyone else? The Liberal Democrats and Greens both make commitments on another issue of concern for the music industry, the impact of Brexit on UK artists touring Europe, who - since the UK left the EU - have had to navigate new bureaucracy around visas and permits. 

The Lib Dems say they would “negotiate free and simple short-term travel arrangements for UK artists to perform in the EU and European artists to perform in the UK”, while the Greens say they would “ensure that musicians have access to visa-free travel to the EU through negotiating a reciprocal arrangement at the earliest possible opportunity”.

The Lib Dems also talk about the importance of music and other arts subjects in schools, which have generally been de-prioritised under the current Conservative government, and they also want to tighten up regulation on ticket touting. The Greens also run with another frequent demand from the music community - reduced VAT on tickets - though they go one step further, proposing to exempt cultural events from VAT entirely. 

The Conservatives big up their commitment to apprenticeships in the creative industries, promise a review into the night-time economy of England, and say they would extend the Community Ownership Fund they launched in 2021 to “support community groups to take ownership of assets which are at risk of being lost to the community”, including music venues. 

They also make some vague commitments about ensuring “creators are properly protected and remunerated for their work” in the context of AI, despite having failed to get any agreement between the creative industries and AI companies on what those protections might be.

From a music community perspective, The Greens are probably strongest on AI. “We would insist on the protection of the intellectual property of artists, writers, musicians and other creators”, they say, adding, “we would ensure that AI does not erode the value of human creativity”. 

Of course, it’s easier for the smaller parties to make bold commitments in their manifestos, as they know they will never form a government and have to make good on their promises (unless it’s one of those rare UK elections where the outcome is a coalition government involving multiple parties).  

Talking of the smaller parties - although a smaller party that would probably want you to know they are currently close to the Conservatives in the polls - what about the right wing pro-Brexit Reform Party? 

Well, when you search “culture” in its manifesto, you get big statements on British culture, cancel culture and agriculture. British culture must be protected, cancel culture must be stopped and, as for agriculture, they want the kids to be encouraged to work on the farms. Though not wind farms and solar farms. They really don't like wind farms and solar farms.

ICA // Music Event Manager (London)

Chalk Press Agency // Senior Music Publicist (London)

SJM Concerts // Event Ticketing Manager (Manchester)

Sentric Music // Revenue Optimisation Manager (London/Liverpool)

Sentric Music // Copyright Manager (Liverpool/London)

AXS Europe // Marketing Manager (Birmingham)

Solar // Finance Manager (London/Hybrid)

terrible* // Finance Assistant/Bookkeeper (London)

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Whether you're looking for your first job in music or you're ready to take a step up, Horizon is here to help you find your dream job faster.

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ONE LINERS

Taylor Swift, A2IM, LL Cool J + more

DEALS 

Concord Music Publishing has signed a global publishing agreement with Australian songwriter John Butler. “I am very pleased to be joining the Concord Music Publishing family”, he says. “It is exciting to be working closely with a team based out of Australia and being reconnected with people who I have worked with in previous years and feel as passionate about music as I do”.

Distributor FUGA has entered into new partnerships with French indie label Record Makers and Potion Records, the label founded by Belgian producer and DJ The Magician. “We are very proud to be the chosen distribution partner for some of the most renowned labels in the French region who have a proven and longstanding history of excellence”, says FUGA CCO Dorothée Imhoff. “We look forward to working closely with both Record Makers and Potion Records’ teams and maximising the reach of their music globally”.

APPOINTMENTS

CEO of the American Association Of Independent Music, Richard James Burgess has announced that he will step down in 2026. “Leading this exceptional organisation has been an extraordinary experience”, he told the organisation’s AGM. “I am profoundly grateful for the support and dedication of our board members, the invaluable work of our founding members and prior presidents who set up the organisation to succeed, and the unwavering commitment of our many members”.

Catalogue acquisition firm The Circuit Group has announced several new hires as it launches a new label services division. James Sutcliffe comes on board as Chief Strategy Officer; Simon Birkumshaw is Director Of Operations, Label Services; Ian Massoth is Director Of A&R, Label Services; Shivani Phull is Chief Financial Officer Advisor; Bianca Price is Social Media Manager; Nick Sung is Director Of Marketing; and Charlie Tadmanis is Director Of A&R.

AWARDS

Entries are now open for this year’s Production Music Awards. The deadline is 26 Jul. "This industry is built by talented, passionate people who care deeply about what they do”, says founder Richard Canavan. “In 2024, the Production Music Awards celebrates the very human art of making music”. Sure. The ceremony takes place on 20 Nov at London’s IndigO2. 

GIGS & TOURS

Taylor Swift has said that her Eras Tours will not have any more dates added. That still means she’ll be on the road until December though. She made the announcement on stage at the tour’s 100th show in Liverpool. “This is the very first time I’ve ever acknowledged to myself and admitted that this tour is gonna end in December”, she said. “Like, that’s it”.

RELEASES

LL Cool J has released new single ‘Saturday Night Special’ featuring Rick Ross and Fat Joe. It’s the first single from his first album for a decade, ‘The FORCE’, which will be out in the autumn.

Alison Moyet will mark her 40th anniversary as a solo artist with a new album called ‘Key’. Out on 4 Oct, it will feature reworked versions of old single and fan favourites, plus two new songs. Out now are a new version of ‘All Cried Out’ and new track ‘Such Small Ale’. She will also be touring the UK and Ireland in February and March 2025. 

Rag N Bone Man has announced that he will release new album ‘What Do You Believe In?’ on 18 Oct. The title track came out last month. He will follow it up with a UK tour in November. 

Bree Runway has released new single ‘Just Like That’. 

Tokimonsta will release new album ‘Eternal Reverie’ later this year. Out now is new single ‘Switch It’ featuring Cakes Da Killa and Gawd. 

Avey Tare has released new single ‘Vampire Tongues’ featuring Animal Collective bandmate Panda Bear. 

Pale Waves have released new single ‘Perfume’. Their new album ‘Smitten’ is out on 20 Sep. 

Mike Lindsay has released new single ‘Two Blues’ featuring Anna B Savage, taken from his new album ‘Super Shapes Vol 1’, which is also out today. There are two launch shows - one at Rough Trade East in London tonight and another at Where Else in Margate tomorrow. 

Logic1000 has released new single ‘Side By Side’ featuring Empress Of. The track is taken from a new collection of reworked versions of songs from her debut album ‘Mother’, which will be out on 7 Aug.

Hakushi Hasegawa has released new single ‘Gone’ featuring Kid Fresino. Their new album ‘Mahōgakkō’ is out on 24 Jul.

Jesus Piece have released new single ‘FTBS’. 

Jahnah Camille hasreleased new single ‘Carnival Sounds’. Her debut EP ‘I Tried To Freeze Light, But I Only Remember A Girl’ is out next week.

Artists still in the dark about new EU rights, says study

The International Artist Organisation has undertaken an extensive survey of artists and musicians across Europe to assess the impact of the 2019 European Copyright Directive, which introduced a new set of rights for music-makers. It ultimately concludes that, while there have been some positive outcomes, there is a lot more work to be done, not least in making sure artists and musicians are even aware of the rights that were introduced. 

Some of the issues raised in the survey, the IAO writes in a report based on the study, “could be addressed through increased knowledge. This applies both to artists regarding their rights following the implementation of the directive and to record labels that are not yet in compliance with the new legislation”. 

It also proposes that the European Commission should produce guidelines - and that individual EU member states should implement practical mechanisms - to help ensure streaming services, record labels and music distributors know how to be compliant with the directive, and that artists and musicians know how to capitalise on their rights.

When the 2019 directive was being negotiated, most attention in the music industry focused on what began as article thirteen, which reformed the copyright safe harbour. 

The music community reckoned that user-upload platforms like YouTube were exploiting the safe harbour to pay less money into the industry, creating a big bad “value gap”. YouTube fought back against that criticism, creating a high profile lobbying battle. 

However, there were five other articles in the directive of relevance to artists and songwriters which were more focused on their relationships with record labels and music publishers, in the context of the digital market and digital revenues. Each of those articles introduced a new right.  

Rights to “appropriate and proportionate remuneration”, transparency and contract adjustment. The right to alternative dispute resolution as part of the contract adjustment process. And the right to reclaim copyrights previously assigned to business partners if those partners weren't monetising the music - basically a ‘use it or lose it’ obligation for labels and publishers. 

IAO - in partnership with collecting society grouping AEPO-ARTIS - surveyed 9542 artists and musicians across nineteen EU countries about the impact of the new rights contained in the directive. Of those surveyed, 4215 are signed to a record label, while 5327 are independent self-releasing artists and session musicians.

As for whether artists are getting “appropriate and proportionate remuneration” from the streaming of their music, that obviously depends very much on how you choose to define “appropriate and proportionate”. 

However, 69.1% of the artists surveyed are dissatisfied with their streaming income, 87.6% believe that streaming revenues are not shared out in a fair way, and 71.3% of session musicians believe that the upfront fees they receive for a recording session do not fairly compensate them for their contributions to each track.

Some EU countries, when implementing the directive, introduced new remuneration rights in law for performers, meaning they are due a direct payment when their music is used on at least some digital platforms. However, most countries simply inserted the right to appropriate and proportionate remuneration into local copyright law without defining what that meant or creating any mechanism for increasing performer payments. 

“Guidance appears to be needed concerning what kind of appropriate mechanisms member states should implement” to ensure appropriate and proportionate remuneration is achieved, the IAO concludes. Especially for those countries that left it vague when implementing the directive. 

Guidance is also probably needed around the right to transparency. 64.7% of the artists surveyed who are signed to record labels reported a lack of transparency about how their music is being exploited on digital platforms and how their digital royalties are calculated. 

“Currently, there is insufficient clarification on the amount of information and level of detail required” to meet the transparency obligation in the directive, IAO writes. 

It then notes that, earlier this year in the UK, which isn't covered by the directive, the industry agreed a transparency code via a government facilitated process. The European Commission, it adds, “could offer foundational guidance on how to construct an industry-wide, standard agreement containing details of what information must be provided”. 

The contract adjustment right allows artists to force a renegotiation of old record contracts if “remuneration originally agreed turns out to be disproportionately low compared to all the subsequent relevant revenues derived from the exploitation of the works or performances”.

Only 4.1% of the signed artists surveyed have attempted to renegotiate old contracts, of which 23% managed to secure new terms with enhanced royalties and additional remuneration. 

That so few artists have sought to exercise the contract adjustment right might suggest that the majority believe the remuneration terms in their old deals are fair. Though, given how many artists are unsatisfied with their streaming income, it seems unlikely that’s the only reason for so few artists enforcing this new right. 

The IAO says that other factors include “a lack of awareness among artists regarding their rights” and a nervousness about “approaching their contractual counterparts about royalty adjustments and additional payments”. 

One issue is the ambiguity over what constitutes “disproportionately low” remuneration, making it hard for artists to assess whether they have a case for adjustment. More education about this right and guidance on what kind of remuneration is unfair is required, the IAO reckons. 

As for the other two new rights, 15.3% of signed artists in disagreement with their label have engaged in a voluntary alternative dispute resolution process, while 5.9% have attempted to revoke their rights under the use it or lose it system, with 30.6% succeeding in their efforts.

Lil Uzi Vert sued by creative agency over $500,000+ in unpaid bills

Lil Uzi Vert has been sued by M99 Studios, an LA-based creative agency that specialises in concert design, direction and production, over unpaid fees that allegedly exceed half a million dollars. 

The lawsuit, says the creative agency, has been prompted by the rapper”s “failure and refusal to provide M99 with payments due and owing for services duly rendered related to live festival and tour performances”. As well as the rapper, real name Symere Bysil Woods, their company Uzivert LLC and manager Amina Diop are also named as defendants. 

M99 says it has worked with Woods throughout the majority of their touring career. The rapper “relied heavily” on M99, it claims, for all of their “creative ideas, production, and staffing for all tours, shows and performances”. Not only that, but Woods “regularly requested unrealistic designs and concepts with little to no timeline, trusting M99 to execute them flawlessly”. 

Providing some examples of those unrealistic requests, the lawsuit says that, immediately prior to a performance at Rolling Loud LA, Woods demanded “a bounce house, wooden crosses and mannequins to be added to the show, all of which M99 was forced to procure, build, incorporate with other set pieces, and pay for with essentially zero prior notice”.

At a Rolling Loud Miami show, Woods told M99 to “procure thirty adult dancers” to appear in the set “only hours before the show was scheduled to begin. M99 managed to fulfil this request, along with countless other last-minute demands all at significant time, effort and expense”. 

The lawsuit then sets out various issues it has had getting paid for its work with Woods over the years, but the real problems started last year when invoices stopped being paid entirely. 

When the debts topped $700,000, M99 informed Diop that it could no longer work for the rapper until its invoices had been paid. A $100,000 payment was then made with a promise that the outstanding debts would be cleared once the next leg of Wood’s tour, in Australia, was complete. However, no such payment came.  

“After the Australia tour, M99 ceased doing work for the artist and decided not to bill for the Australian services in hopes of parting ways amicably”, the lawsuit explains. 

With $533,499.81 still owing, “M99 continued to follow up with Diop regarding the outstanding invoices. Diop consistently promised that all invoices would be paid, acknowledging that the work was complete and satisfactory, and assuring M99 that everyone involved was aware that the money was owed and needed to be paid”. 

In March this year, Diop said a payment would be made as soon as Woods got an advance for their next album from their label. However, M99 says it has since learned that that advance had already been paid by that point, “which Diop would be fully aware of prior to her conversation with M99”. 

With the $533,499.81 still outstanding, M99 wants the court to issue an order forcing Woods and Diop to settle the debt, and also pay the creative agency’s legal costs and “punitive damages as deemed appropriate” by the judge.

And Finally! BTS’s Jin trades military life for gruelling “hug event”

Time flies when you’re having fun, so I must have been having the time of my life since BTS member Jin joined the South Korean army. Having served his time in mandatory military service, he’s back in pop star mode again and kicked things off with an event that seemed more gruelling than anything his training as a soldier could have thrown at him.

It was announced earlier this month that Jin would be discharged from military service on 12 Jun, having been the first member of the group to enlist in December 2022. I think I’d like a bit of a rest after all that. Maybe a week. Or a month. Maybe the rest of the year. Surely there’s no rush to get back to work.

Perhaps it’s talk like that that’s held me back from becoming an international pop star, because Jin returned to duty immediately. He went from the army base straight to a livestream address to fans - still wearing his army uniform. And then the very next day he appeared at an event as part of the annual BTS Festa event, at which fans celebrate the day that BTS released their debut single in 2013. 

A little public appearance seems fine. A quick hello, maybe a wave. But that’s not what happened. What happened was that Jin stood on stage at Seoul’s Jamsil Sports Complex and hugged 1000 fans.